"I'm not an intellectual composer"
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"I'm not an intellectual composer" lands like a velvet-rope disclaimer from a man who knew exactly how quickly taste can harden into policing. Les Baxter, a key architect of mid-century exotica, was writing mood as much as melody: lush strings, faux-tribal percussion, cinematic swells meant to teleport a suburban living room somewhere more glamorous than Tuesday night. In that world, "intellectual" isn’t a neutral adjective; it’s code for gatekeeping, for the kind of prestige that treats pleasure as suspicious unless it arrives footnoted.
The intent reads practical, even protective. Baxter is sidestepping the expectation that serious composition must announce its seriousness - complexity worn like a medal, difficulty as proof of virtue. He’s also preempting the critique that his music is escapist, decorative, or kitsch. By refusing the intellectual badge, he reframes the terms of evaluation: judge me by sensation, atmosphere, and craft, not by whether I satisfy a conservatory rubric.
The subtext is sharper: he’s acknowledging a cultural hierarchy that was tightening in the postwar era, when "high" modernism and academic legitimacy were increasingly positioned against mass entertainment. Baxter’s work lived in the marketplace - records, film cues, cocktail culture - where immediacy is the point. The line doubles as marketing and manifesto: I make experiences, not arguments.
It also hints at an anxiety specific to his genre. Exotica flirted with fantasy versions of other cultures; calling it "intellectual" would invite moral and aesthetic scrutiny. Calling it pleasure lets it slide, for better and worse, under the radar.
The intent reads practical, even protective. Baxter is sidestepping the expectation that serious composition must announce its seriousness - complexity worn like a medal, difficulty as proof of virtue. He’s also preempting the critique that his music is escapist, decorative, or kitsch. By refusing the intellectual badge, he reframes the terms of evaluation: judge me by sensation, atmosphere, and craft, not by whether I satisfy a conservatory rubric.
The subtext is sharper: he’s acknowledging a cultural hierarchy that was tightening in the postwar era, when "high" modernism and academic legitimacy were increasingly positioned against mass entertainment. Baxter’s work lived in the marketplace - records, film cues, cocktail culture - where immediacy is the point. The line doubles as marketing and manifesto: I make experiences, not arguments.
It also hints at an anxiety specific to his genre. Exotica flirted with fantasy versions of other cultures; calling it "intellectual" would invite moral and aesthetic scrutiny. Calling it pleasure lets it slide, for better and worse, under the radar.
Quote Details
| Topic | Music |
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